There is much more acting on parliament stairs than on theatre stage - it is a fact from which the performers of the performance resist. The latest Artūras Areima creation was based on William Shakespeare's drama Richard II.

Richard II is a king with an absolute inner and outer freedom. The ruler of the artistic soul is solving a dispute between cousin Bolingbruk and good friend Moubrio. They blame each other for betrayal. They choose a duel to solve the dispute, and King Richard stops them. Decides to punish exile. Both, just not exactly the same. When the father of Bolingbruk dies, uncle Gonthus, the king expropriates the material inheritance. Nobody understands his behavior. It's a mischief for nobles, they help Bolingbruck to come back. Richard goes to war, leaving uncle York to leave. Bolingbruck attracts more and more supporters, and defeats the opponents with physical force. Old Uncle York does not resist. Richard loses everything in the war. Returning to find a solid Bolingbruk, this requires wealth and power. Bolingbruck becomes king. Ričardas is imprisoned.

Like in the "Julius Caesar", "Robbers", "Cherry orchad", in this performance director is looking for character relations reflecting everyday situations. In contemporary culture, actors take recognizable types of people, positions of attachment signs, behaviors that characterize us, and move them to a different, less regular environment. A.Areima chose the playground outside the theater scene and the lobby with the stairs. There, more than traditional theater, one can study the theatrical behavior. Do you see the performance in real life? Where does it come from? Is this due to fear of being anything?

After choosing W.Shakespeare's drama, the director is based on the thoughts of the philosopher Arvydas Šliogeris. In the West, a person behaves paradoxically: he's afraid of becoming anybody, and when he tries to get together with those who are, he destroys himself as a person. A.Areima transforms the Shakespearean painting with many actors into a way of life and a philosophy of power. Together with the actors and viewers, the director wants to consider how to complete the abusive power and image theater. The performance is a model of reality, provoking the viewer to explore the world in which he lives.